Steve Schnur, EA’s President Of Music, Reveals Heart Behind Music In Video Games [Interview]

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Steve Schnur

With immensely popular games like Madden, FIFA, NHL, The Sims, Need For Speed, Battlefield, Apex Legends, and dozens of others, Electronic Arts (EA) has cemented itself as one of the leading gaming companies in the world. As it constantly tries to up the ante and keep its thumb on the pulse of culture, EA and its team are always looking for ways to bring new innovations and experiences to their millions of worldwide players.

As the No. 1 PC game played by female gamers and one of the best selling video games of all time, The Sims has been a major part of pop culture over the past 21 years. In the games’ newest creative endeavor, The Sims 4 will be offering an exclusive limited-time only, in-game musical performance. In a fantasy world where there’s always something to explore, curating in-game concerts through The Sims connects real-world fandoms to a place where gamers can express themselves in a way that is most authentic and meaningful to them. The fully immersive, first of its kind event will be headlined by Grammy nominated pop artist Bebe Rexha with opening acts Glass Animals and Joy Oladokun. The event will be available from June 29 – July 7.

EA’s President of Music Steve Schnur, a Nashvillian, spoke to MusicRow to discuss this new wave of live in-game music programming, the future of Sims Sessions, and EA’s ability to influence and introduce artists to new listeners.

MusicRow: What role do you specifically play in the EA world as President of Music? What does that entail for you?

Schnur: I’m responsible for every note that goes in every one of our games. That could be the music that gets curated into FIFA, Madden, NHL, The Sims, Need For Speed, and everything else, but it’s also all the music that I produce orchestrally for games like Battlefield, Star Wars, and Mass Effect. It also includes all of the marketing, so every note in every trailer, whether it’s orchestral or a licensed music selection, music marketing activities like Sim Sessions, appearances at our events, running our music publishing company, running our music production company, and running our record soundtrack label. All things to do with music, and everything to do with the cultural impact.

We made a commitment 20 years ago to launch brands that we thought could move the needle on people’s lives. Now we see it taken even further, for instance, when I consult the NFL (National Football League) or the MLS (Major League Soccer). The sports now are starting to sound more like us. There’s no Queen, Bon Jovi, or ACDC. To make it local, Nashville SC’s theme song was written and performed by Judah & the Lion. I’m the guy that brought that in and had them write it. I’m the guy that works with the Titans in town to decide the tone of what next generation football sounds like.

Leagues are working with us now because they recognize that the future sound of their sport cannot lie in the hands of 50 and 60 year olds. We have to pay attention to the next generation of 10-25 year-olds who are learning these sports through a virtual experience. What we had when we were kids and how we discovered the tone of our sports was through what played in the stadium or on TV, but that game is over. These soundtracks live beyond the game themselves.

All of that to say, my responsibility isn’t simply curation of music in the game, but it’s setting a tone that will go well beyond the game.

What was it like to work with Judah & the Lion on the Nashville SC theme song?

I sat with the team and the band and we had lengthy discussions on what we were trying to say and how we were trying to be truly “Nashville.” Not the typical Nashville, but we were trying to represent the broader Nashville and the next generation of Nashville since soccer is such a next generation sport in this country. Just go to any MLS game and you’ll see the demographic difference. So the question was how do we appeal to that generation?

I get why Tim McGraw’s song comes on every time the Predators score a goal. The MLS team, though, was about the next generation. They wanted to find out what Nashville means to the world. Soccer is a global sport, it’s not a local or even national sport. So what does Nashville mean to somebody in Germany or London or Los Angeles?

It could mean Margo Price or Judah & the Lion. It could mean Blake Shelton or The Black Keys. It could mean so many different things, so we needed to represent the team in that way. It was a clear distinction that we had to make at the very beginning. Our soccer team had to represent everyone because it’s an inclusive sport, and the music had to represent it that way.

Joy Oladukon, Bebe Rexha, and Glass Animals Sims characters.

As far as the Sims announcement, what does this new feature mean for both the players and for artists who are going to be featured?

The Sims is an asynchronous game, not just because it’s not built that way, but also because it reflects the way younger people use media–when, how, if, and when they want. It’s all about creative expression: who you are, who you want to be, and who you envision yourself to be with no judgment.

Music has always been a critical part of The Sims. I was a little nervous 15+ years ago to have artists re-record their songs in Simlish, the language of The Sims, because I thought it might be offensive to ask an artist to re-sing a song in a foreign language that many people considered to be gibberish. However, to the hundreds of millions of Sims fans around the world, it has meaning and it has its own self-expression. Once I did it a few times, I became much bolder and we started creating packs. We’ve done ’80s packs, heavy metal packs, country packs with artists like Luke Bryan, Martina McBride, LeAnn Rimes, and even Lady A doing “Need You Now” in Simlish before they put it out in English. Over the years, we have nearly 500 artists that have recorded in Simlish. So you go to an area in the game and listen to these new artists that you don’t know yet, and later on you realize, “Oh my god! That person became a superstar and they sang in Simlish!”

The question was, “How do we create a self-expressive, true Sims type of festival while also being completely unique and not typical as to things you’ve seen in the last couple of years?” We made it very intimate and I think intimacy is key. You don’t show up with 40 or 50 million of your friends at once, but you show up in a small group of friends to an event that you couldn’t ever see in the real world. In the case of the first Sim Sessions, with Bebe Rexha, Glass Animals, and Joy Oladokun, you go to your local park, gazebo, or other intimate settings, and you see these artists perform for you in Simlish. It’s not a typical broadcast of something that maybe you see during COVID, but next year you’ll see it at the Ascend Amphitheater. It retains the intimate, self-expressive world of the hundreds of millions of people around the world who play The Sims.

It’s limited in the sense that it will only be available for a certain amount of time, but you go when you want to go whether it’s 11 p.m. on Friday or 2 a.m. on Sunday morning. I’m hoping that this really sets off the trend for Sims fans around the world to experience something that they will never experience anywhere else. Over 300 million people have bought The Sims, so this is not a small audience or a small feat. It’s an experience that we hope to bring somewhat regularly to Sims fans and expand upon these concepts so that people can continuously feel that they’re a part of The Sims community.

When a music supervisor is working on a film, they often read a scene and try to find a song to compliment it. How does that happen in the game world? What guides your decision on what songs to place where?

I do music supervision for films as well and it’s very different. Since there’s no scene, so we’ve come up with our own format when we pick songs. I stand by what I promised to do 20 years ago when I joined EA, which is that if we have a game called Madden 22 or FIFA 22, every piece of music in that game is going to point forward. It’s going to be something that launches or continues to launch through the season ahead of you.

Because of that, most of the music we curate in our games is music that is being recorded or has just been recorded. I’m very proud when we go to get our license from our label and publishing partners that so much of the music that we’re selecting isn’t even in their systems yet because it hasn’t even been submitted. My team and I have a pretty good idea as to what is or isn’t going to culturally move the needle in a year or two and what artists are going in the studio so that we can go in and be a part of that. We’re in the studio constantly working with artists to make sure that their music is a part of our franchises.

Essentially, you’re not just predicting culture, you’re creating culture. The amount of plays that a song gets in one game of FIFA or Madden is equivalent to almost a billion hours, if not more. Everybody isn’t going to like every single song, but if we can move the needle on someone’s musical taste and get them to fall in love with a new artist or song then I’m pretty happy about that. It’s really a combination of A&R, curation, gut, know-how, and deep relationships in the music community, whether it’s with labels, publishers, artists, or songwriters worldwide.

If I can give so many impressions of a song to that many people, we can affect research at radio stations and the familiarity of an artist. I remember we put Lee Brice in Madden about four years ago, and he told me that he has fans that would never normally be fans coming to him saying, “Who are you? You’re amazing,” but they don’t listen to country. The same thing happened with Lady A in The Sims. Dave Haywood would tell me they got requests for “Need You Now” in Simlish from people who don’t listen to country radio.

That doesn’t just apply to country, though. I can’t say we don’t lay heavily into certain genres in certain franchises. However, we definitely go out of our comfort zone as often as possible. I don’t look at Brandy Clark or Lee Brice as being country. Rather, I just look at them as being great artists, and if they fit musically in an NHL game then wonderful!

Some of the questions I had before this conversation had to do with what country songs bring to games or if there were any games that require more country music, but clearly there isn’t a one size fits all or a cookie cutter that you’re trying to fill. Is that right?

It is. I’m a very proud Nashvillian, and I moved here in 1994 before this town was cool. My heart is in this town and I am a country music fanatic, but I’m not in the country, hip hop, or rock business, I’m in the music business.

I believe wholeheartedly that country belongs in games. That doesn’t mean it naturally fits into everything we do, but when I can, I go out of my way to make it happen. We have had a lot of representation of country music in our games over the years from Blake Shelton, Lady A, Martina McBride, Brandy Clark, Ruthie Collins, and Luke Bryan among others. We also have a lot of non-country country-based Nashville artists represented, like Judah & the Lion, Kings of Leon, and The Black Keys.

Our heart is deeply in Nashville, and our heart is exclusively in Nashville when it comes to all the orchestral sessions for Star Wars, Madden or FIFA and our scores for Mass Effect. I, with great humility, take so much pride that this town has become one of the two most important towns in the world when it comes to film, television, game, and score recording along with London.

When it comes to Nashville music, I’m in 100% of the time. I’m filled with gratitude to be a core part of the music business in this town.

Big Machine Music Signs Songwriter/Producer Matt Dragstrem

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Pictured (L-R, back row): BMM‘s Sr. Director of Royalties and Finance Grayson Stephens, Creative Coordinator Lizzy Gallatin, Creative Director Michelle Attardi, Catalog Manager Taylor Courtney; (L-R, front row): BMM’s General Manager Mike Molinar, Matt Dragstrem, BMM’s Vice President Alex Heddle; not pictured: BMM’s Vice President Tim Hunze. Photo: Courtesy of Big Machine Music

Big Machine Music has signed an exclusive co-publishing agreement with songwriter/producer Matt Dragstrem, which includes the acquisition of his Matt Drag Music catalog.

Dragstrem has written No. 1 hits such as “I’ll Name The Dogs” (Blake Shelton), “One Margarita” (Luke Bryan), “Why We Drink” (Justin Moore), “Sippin’ On Fire” (Florida Georgia Line), and “Be A Light” (Thomas Rhett ft. Reba McEntire, Hillary Scott, Chris Tomlin and Keith Urban) as well as landed cuts by artists Maren Morris, David Guetta, Jake Owen, Jason Aldean, Dan + Shay, G- Eazy, Charlie Puth, Dierks Bentley, Brothers Osborne, and more. He also has nearly a dozen songwriting and producer credits on Rhett’s Country Again: Side A and Morgan Wallen’s Dangerous: The Double Album.

“I am excited to join the Big Machine Music team! I’ve known this talented crew for many years and it’s good to finally get to work with them. I’m eager to see what the future holds,” shares Dragstrem.

Dragstrem officially joins the reigning AIMP Nashville Publisher of the Year’s roster, which includes Laura Veltz, Jessie Jo Dillon, Ryan Hurd, Brett Young, Brandy Clark, Eric Paslay, Maddie & Tae and more.

BMM General Manager Mike Molinar says, “Drag has already established himself as a hit songwriter and producer while still at the beginning of what will be a legendary career. Alex Heddle, the rest of the team and I are so proud to welcome him to the Big Machine Music family!”

Gary Allan Makes Long-Awaited Return With ‘Ruthless,’ Eight Years In The Making [Interview]

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Gary Allan. Photo: Eric Adkins

Country music renaissance man Gary Allan released his long-awaited new album Ruthless today (June 25).

The 13-track project finds Allan tapping into the eclectic and tender-hearted themes ever-present in his prior releases, and settling into his ‘80s and ‘90s influences. He co-produced Ruthless with some of the minds behind his acclaimed breakout album Smoke Rings In The Dark, Mark Wright and Tony Brown, in addition to Jay Joyce and Greg Droman.

The tracklist, a sequence he has been collecting for eight years, reads like a who’s who of Music Row, with writers Jim Beavers, Sarah Buxton, Rodney Clawson, Nicolle Galyon, Ryan Hurd, Matt Warren, Josh Kear, Hillary Lindsey, Shane McAnally, the late busbee, and more.

Allan recently spoke with MusicRow about Ruthless, making sad songs, and the last 25 years.

MusicRow: The first thing I noticed about Ruthless is there’s a lot of outside cuts, with 12 of the 13 songs. When did you start collecting these songs?

Allan: I have been collecting these songs over the past eight years. The album is an accumulation of three separate projects. One I did with my engineer Greg Droman and my road band–that’s like the “Little Glass of Wine” and “What I Can’t Talk About.” I did another project with Jay Joyce and the label didn’t really hear it. That was right in the middle of the “bro country” thing. We all decided we should just drag our feet until this goes away a little bit. And then the third time we did it was when I felt that ’90s trend coming back. I thought, let’s go get the whole crew that played on the Smoke Rings In The Dark album, and I’ll get Tony Brown and Mark Wright, and that was where these last batch came from.

The cool thing is I had eight years of songs that I had collected and you’re right, it’s probably the least [amount of songs I’ve co-written that] I’ve ever had on the record, but I just tried to be honest with myself. I wore out all those songs if my house, and those were the 13 that spoke to me the most.

“Waste of A Whiskey Drink” is the leading single for the project. What compelled you to this song when you heard it?

It’s tongue-in-cheek, it just made smile. I think we’ve all sat down at a bar with somebody and said, “Man, you don’t want none of that. That’s a waste of a whiskey drink and a big heartache coming if you get involved.”

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Speaking on heartache, you have mastered that over the years with some of your biggest songs telling the story of heartache or love gone wrong (see “Watching Airplanes,” “Life Ain’t Always Beautiful,” “Best I Ever Had”). Do you feel like that’s what you’re known for now?

Yeah, that’s all my favorite stuff. I’ve been called the master of misery and there are all kinds of quotes from different magazines about my writing. With “Every Storm (Runs Out of Rain)” I learned from Hillary [Lindsey] how you can write a sad song but still write every line to be positive. But sad songs have always been my favorite stuff. I’ve always loved the “He Stopped Loving Her Today” and the album cuts on records. Even my favorite artists [put out a lot of sad songs.] I have always been blown away that [artists like] Merle Haggard weren’t playing the AT&T Center.

I’ve always viewed myself as like the guy in the bar or part of the bar band because that’s always been my favorite stuff. For instance, “A Little Glass Of Wine,” is an old Jesse Winchester song. I got turned onto him by songwriters Odie Blackmon and Jamie O’Hara. Jamie use to tell me that was his all-time favorite writer and that made me go and buy all of his stuff.

“What I Can’t Talk About” has such a great lyric. “That’s why I sing about what I can’t talk about.” What was your reaction when you heard that hook?

I thought that was my next big single. I cut that eight years ago. When you go in and you cut in the studio, in your head, you have the two or three songs that are the singles. I was so confident that I started cutting songs like “Little Glass Of Wine.” When I turned it in, they were like, “Man, I just think that’s too negative.” In hindsight, that was the beginning of the “bro country” thing. My manager talked to me about this a little bit. He said, “We just didn’t feel like you were going to fit into the current format, so eventually we started just dragging our feet.”

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You are a co-writer on “Pretty Damn Close.” Tell me about writing that one.

To me it’s like a George Strait song. That’s all I heard when we were writing it and that’s all I hear still when I listen to it. That “Something about her spinning around with the glitter in her hair,” just feels super ’80s and ’90s. I missed that. I miss writing with guitars. To me, that’s my favorite part about the ’90s sounds is the melodies and I think that’s what we’re lacking most right now.

Why did Ruthless stick out as the track from which you should title this project?

For me, I’m still a little kid looking at the shelf. So I always try to think of what looks cool on the shelf, so “Gary Allan – Ruthless” says “He’s gonna be here no matter what, he’s going to make it through this.”

You’re celebrating the release of Ruthless with a special performance tonight (June 25) at Assembly Hall in Fifth + Broadway. Have you gotten to play much recently now that the pandemic restrictions are lifting?

This will be my fifth show back. We had 462 days between shows, not that I was counting. It feels so good to be back.

It’s been 25 years since your first album Used Heart For Sale. What are some of the biggest things you’ve learned about yourself since then?

Just do what you do. That’s probably the hardest thing about being around for a long time is not to get jaded every time it takes a left turn. Even if you think [what the music industry is doing] sucks, you can’t go, “This sucks.” You have to go, “How do I sit in this?” I had the hardest time with the “bro country” thing, I didn’t like it. I didn’t understand it. But what I learned the most is don’t let other people define what you’re good at, what you’re awesome at, or what you feel good about. Just go do your thing and let the chips fall.

Luke Bryan Holds Top Position On MusicRow CountryBreakout Radio Chart

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Luke Bryan’s “Waves” occupies the No. 1 position for a second week on the MusicRow CountryBreakout Radio Chart. In April, the single swept that charts as the most added and highest debut for its impact week debuting at No. 35 on the MusicRow Chart. 

“Waves” was written by Zach Crowell, Ryan Hurd, and Chase McGill. The song also appears on the deluxe version of Bryan’s album Born Here Live Here Die Here.

As recently announced, his new docuseries examines Bryan’s life as he experiences the ups, downs, triumphs, and tragedies of his successful career. Luke Bryan: My Dirt Road Diary will premiere on Aug. 6 via IMDb TV, Amazon’s premium free streaming service. Click here to watch a preview.

Click here or above to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.

Brian Kelley Tells His Beach-Side Story On Debut Solo Project ‘Sunshine State Of Mind’ [Interview]

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Brian Kelley. Photo: Ben Christensen

Brian Kelley, one half of the wildly successful country duo Florida Georgia Line, exudes happiness when talking about his debut solo album Sunshine State Of Mind, out today (June 25).

Kelley and FGL partner Tyler Hubbard revealed they would be releasing solo music in January of 2021. In March, Kelley announced his solo music venture, Nashville South Records, would be partnering with Warner Music Nashville to support an upcoming project.

Shortly after, Kelley released BK’s Wave Pack, a four-song collection that set the tone for his solo music that was clearly influenced by his upbringing in Florida. “Beach Cowboy” instantly became the buzzed-about track, with its surf guitar swagger and amusing lyrics that have you picturing Kelley “going John Wayne on these waves.”

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Sunshine State Of Mind, with its whopping 17 tracks, finds Kelley really leaning in to his admiration for his home state, with songs about boating, fishing, and being by the water throughout.

“Besides my wife, Florida is probably my greatest muse,” says Kelley, who has called Florida home since 2016. “I love my home state. It’s a beautiful place. It’s got a lot of wonder, a lot of mystery, a lot of history. It’s very special to me.”

It was after Kelley wrote “Boat Names,” the album’s opening track, with Parker Welling and Casey Brown when he knew he was making a solo record.

“I wrote that the day before my birthday, and I don’t know where I’d be if I didn’t show up for that day and didn’t write that song. That song was the guiding light. It was the anchor and the whole direction I needed for this project that kicked it all off. Once that song was written it really gave me a confidence to push forward and chase another crazy dream rather than just be comfortable with where I’m at in life.

“That little bit of un-comfortability—you could call it fear—I felt like that was a door that God had opened that I needed to run through. It was an opportunity to fulfill a lifelong dream of having this solo outlet.”

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Kelley had been saving ideas for a solo project for years. When the creative faucet opened, the music flowed. “The majority of the titles and songs on this album, except for probably two, were my ideas and my titles. I don’t say that to boast, just to say that I was on a mission and I knew where I wanted to go.”

“Say The Word,” a hazy, beachy love song co-written with Corey Crowder, Chris Loocke, Blake Redferrin and Joe Clemmons, features Kelley’s rich vocal in the spotlight on lyrics about shrimp boats and the Bahama breeze.

“When it came to [recording these songs] I think I found my lead voice,” Kelley says. “It was very important to me that that it sounded like me. It’s my most authentic self, with my voice on this project. It took a lot of hard work, and I’ve learned a lot over the years. I’m super thankful that I got to work with Joey Moi. I learned a ton from him.”

“By Boat,” co-written with Jimmy Robbins and Nicolle Galyon, is another tender standout on the collection. “It’s one of my favorite songs I’ve ever written,” Kelley says. “With every song on this album, it didn’t feel like we were just trying to get so many songs for the year and cross it off our list. These are my soul songs, and they mean a lot to me. I’m very diligent and intentional with every line, melody, and vocal lick that I do. Every co-writer was living these songs out with me. We’re living them out together and they became our songs.”

But Sunshine State Of Mind isn’t just beachy love songs, though there are many. In addition to his vibey “Beach Cowboy,” Kelley has some fun with “Party On The Beach” and “Highway On The Water,” a tune about life on the water in which he makes a funny reference that it’s bad luck to bring bananas.

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“It’s just a boaters thing. If there are bananas on the boat, they need to get off the boat. Bad things happen with bananas on the boat. It’s just a weird thing.”

Sunshine State Of Mind, with its hazy love tunes, beach party songs, and banana advice, is available everywhere now.

DISClaimer Single Reviews: The Isaacs, Nathaniel Rateliff, Yola, Valerie June

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The Isaacs

The Fourth of July is almost upon us, and DisClaimer has the song for the holiday.

Our Disc of the Day winner is “The American Face” by The Isaacs. Previously noted for their work in Southern-gospel and bluegrass settings, the family band steps out with a solid country-rocker that will make you feel patriotic no matter what your political leanings.

It is just one of the many pleasures to be found in this week’s overview of current Americana sounds. Your ears will thank you when you lend them to John Hiatt, Nathaniel Rateliff, Yola, Valerie June and several others gathered here.

The DisCovery Award goes to singer-songwriter Grant Maloy Smith.

JIM LAUDERDALE / “Memory”
Writers: Jim Lauderdale/Robert Hunter; Producer: Jim Lauderdale/Jay Weaver; Label: Yep Roc
— This ballad has extra poignancy, in that it is awash in nostalgia for a departed loved one, and Lauderdale’s longtime lyricist Robert Hunter passed away last year. The singer’s familiar country drawl lingers long on every word. Hunter probably remains best known for his work with The Grateful Dead, but he had a highly creative, decades-long career as a collaborator with this Americana titan.

RODNEY CROWELL / “Transient Global Amnesia Blues”
Writers: Rodney Crowell; Producer: none listed; Label: RC
— Transient Global Amnesia is a real diagnosis, a temporary condition wherein the brain switches off temporarily. Rodney crafted this fever dream of a song while recovering from it in a hospital. His haunting delivery of the images is spoken-word poetry at its most beautiful. Jesus Christ, Bob Dylan, The Titanic, The River Styx and Yellowstone all make appearances as he contemplates mortality.

THE ISAACS / “The American Face”
Writers: Jimmy Yeary/Sonya Isaacs Yeary/Tom Douglas; Producer: Ben Isaacs/Bryan Sutton; Label: House of Isaacs
— For my money, Sonya Isaacs is one of the greatest female country singers walking on this planet. This splendid, electrified country-rocker surrounds her silvery delivery with potent percussion and her family’s always-stellar harmonies. The anthem-like lyric couldn’t be timed more perfectly for Independence Day. Toss your hat in the air. The album by the same title is due in August and will include Isaacs covers of Chicago’s “You’re the Inspiration” and The Beatles’ “We Can Work it Out,” among other new directions for the group.

STURGILL SIMPSON / “Paradise”
Writers: John Prine; Producer: none listed; Label: Oh Boy/Thirty Tigers
— Drawn from an all-star John Prine tribute album that’s due this fall, this version of one of the late, great troubadour’s best known songs is delivered in a deliberate, acoustic setting. Simpson’s vocal interpretation is low key, allowing the lyric to breathe and live anew. A fitting salute to a humble genius.

THE FLATLANDERS / “Sittin’ on Top of the World”
Writers: none listed; Producer: Flatlanders & Lloyd Maines; Label: Rack ‘Em/Thirty Tigers
— Comprised of Texas stars Joe Ely, Jimmie Dale Gilmore and Butch Hancock, The Flatlanders are back with new music for the first time in 12 years. This advance track from the group’s Treasure of Love collection finds the boys totally rocking a cover of a classic popularized by Bob Wills, The Grateful Dead and Asleep at the Wheel, as well as its originators,The Mississippi Shieks. Smokin’ hot and ripe for massive airplay.

JP HARRIS’ DREADFUL WIND & RAIN / “Closer to the Mill”
Writers: none listed; Producer: none listed; Label: Free Dirt
— This Nashville carpenter and fretless banjo maker creates “Gothic Appalachian music” in an old-time string-band setting. Former Old Crow Medicine Show fiddler Chance McCoy is along for the lively, catchy, acoustic ride. It’s a heart-warming sound.

YOLA / “Diamond Studded Shoes”
Writers: none listed; Producer: Dan Auerbach; Label: Easy Eye
— Yola’s Nashville recorded debut album was an Americana sensation of 2019. Its follow up, Stand For Myself, is due July 30. This advance, peppy, feel-good single/video from it demonstrates that she’s still on a roll. Producer Auerbach (The Black Keys) once again surrounds her commanding voice with perfect instrumental textures, in this case a snappy little pop-rock ensemble. Tap yer toes and smile.

GRANT MALOY SMITH / “The Coal Comes Up”
Writers: Grant Maloy Smith; Producer: Grant Maloy Smith/Jeff Silverman; Label: GMS
— Smith has a penetrating, searing tenor voice that brings his lyrics of everyday Americans vividly to life. The highly effective harmonica work of Jelly Roll Johnson highlights this piercing, country-folk ode to coal miners. The new album, Appalachia: American Stories, drops tomorrow (6/25).

VALERIE JUNE / “Smile”
Writers: Valerie June; Producer: Jack Splash/Valerie June; Label: Fantasy Records
— This fabulously unclassifiable, unforgettable Memphis personality has two nominations at this year’s Americana Music Awards, thanks to her album The Moon and Stars: Prescriptions for Dreamers. This new single/video from it is a bouncing bundle of joy. It is sprightly, positive, uplifting roots-pop. Get on board.

JOHN HIATT & THE JERRY DOUGLAS BAND / “Long Black Electric Cadillac”
Writers: John Hiatt; Producer: none listed; Label: New West
— Hiatt’s soulful, bluesy growl finds a surprisingly sympathetic accompaniment in Douglas’s bluegrassy outfit. This ear-grabbing, addictive toe tapper is a highlight of his current collection, Leftover Feelings. You’ll crave more of this Dobro-rockabilly-blues sound, guaranteed. I am a diehard Hiatt fan, as well as a Douglas devotee, so I’m tickled by this new direction.

TODD SNIDER / “I Resign”
Writers: Todd Snider; Producer: none listed; Label: Aimless
— This groove-soaked slab of sound is directed at former business associates from whom Snider has declared his independence. It’s a slow stomper with loads of personality and profanity. He’s always been a one-of-a-kind songsmith, and that’s underscored here once more.

NATHANIEL RATELIFF / “Redemption”
Writers: Nathaniel Rafeliff; Producer: none listed; Label: Stax
— This man has so much soul. His plea for spiritual freedom rings with gospel-tinged conviction. The yearning ballad grapples with divorce, faltering faith, escapism and a quest for meaning. Rateliff is due to drop a live album next month. In the meantime, get lost in this slow-burn meditation and check out his current duet with Willie Nelson, “It’s Not Supposed to Be That Way.” The man is a monster talent.

Unreleased Johnny Cash Live Album ‘At The Carousel Ballroom’ To Come In September

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Johnny Cash. Photo: Courtesy of The John R Cash Trust

A never-before-heard Johnny Cash live album, Bear’s Sonic Journals: Johnny Cash, At The Carousel Ballroom, April 24 1968, is slated for release Sept. 24 by The Owsley Stanley Foundation and Renew Records/BMG.

The historic concert was recorded in San Francisco by innovative sound engineer Owsley Stanley and captured in the heart of Haight-Ashbury just days before the release of Cash’s iconic At Folsom Prison album (and over six months before the arrival of the equally revered At San Quentin).  At The Carousel Ballroom serves as another time capsule from the era, with Cash leaning into songs about society’s outcasts, while playing a venue operated by The Jefferson Airplane and Grateful Dead.

At The Carousel Ballroom captures Cash in playful dialogue with his then-new bride June Carter and backed by his legendary band The Tennessee Three: guitarist Luther Perkins, bassist Marshall Grant and drummer W.S. Holland. His set list that evening diverged from other concerts of the time, with covers of two Bob Dylan compositions (“Don’t Think Twice It’s Alright,” and his earliest known recording of “One Too Many Mornings”) and songs such as “The Ballad of Ira Hayes.” The release marks the latest entry in the Owsley Stanley Foundation’s ‘Bear’s Sonic Journals’ series, which has previously included Stanley’s live recordings of The Allman Brothers Band, Tim Buckley, Doc & Merle Watson and many more.

The live album also features new essays by Johnny and June Carter Cash’s son John Carter Cash, Owsley Stanley’s son Starfinder Stanley, The Grateful Dead’s Bob Weir, and Widespread Panic’s Dave Schools, as well as new art by Susan Archie, and a reproduction of the original Carousel Ballroom concert poster by Steve Catron. The release will also be widely available in all digital formats by Legacy Recordings. “I’m Going to Memphis” from the Carousel Ballroom live recording is available now, as are pre-orders.

Johnny Cash At The Carousel Ballroom, April 24, 1968 Track List:
1. Cocaine Blues
2. Long Black Veil
3. Orange Blossom Special (CD and Digital only)
4. Going to Memphis
5. The Ballad of Ira Hayes
6. Rock Island Line
7. Guess Things Happen That Way
8. One Too Many Mornings
9. Don’t Think Twice, It’s All Right
10. Give My Love to Rose
11. Green, Green Grass of Home
12. Old Apache Squaw
13. Lorena
14. Forty Shades of Green
15. Bad News
16. Jackson
17. Tall Lover Man
18. June’s Song Introduction
19. Wildwood Flower
20. Foggy Mountain Top
21. This Land Is Your Land
22. Wabash Cannonball
23. Worried Man Blues
24. Long Legged Guitar Pickin’ Man
25. Ring of Fire
26. Big River
27. Don’t Take Your Guns to Town
28. I Walk the Line

Sony Music Publishing Signs Global Deal With Relative Music Group [Exclusive]

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Pictured (L-R, back row): Rusty Gaston, Jesse Matkosky; (L-R, front row): Michael Hardy, Dennis Matkosky, Jon Platt

Sony Music Publishing Nashville has signed a global publishing agreement with publishing and artist development company Relative Music Group.

Founded in 2017 by father/son duo Dennis and Jesse Matkosky, Relative Music Group has quickly found success with its first signed act, Michael Hardy, who recently became a Partner at the company.

Hardy has become one of Music Row’s most in-demand songwriters, with hits including his own No. 1 single “One Beer” featuring Lauren Alaina and Devin Dawson, as well as Blake Shelton’s “God’s Country,” Morgan Wallen’s “Up Down,” Cole Swindell’s current top 5 hit “Single Saturday Night,” and many more. As an artist, the ACM New Male Artist of the Year nominee released his acclaimed debut album A Rock in 2020.

“Relative Music Group has done an incredible job of championing songwriters with an independent spirit that embodies everything that makes Music Row special. We’re thrilled to partner with Dennis, Jesse and Michael as we work together to elevate their company and vision to new heights,” says Sony Music Publishing Nashville CEO Rusty Gaston.

Founders of Relative Music Group, Dennis and Jesse Matkosky, add, “We are so excited to be working with Rusty and the entire Sony Music Publishing family. It is clear they believe in our vision for the future of Relative Music Group and will be the perfect partners to help us get there.”

Hardy says, “It’s a dream come true to become partners with such great people. I’m excited to be working with the Sony team as well as my family, Dennis Matkosky and Jesse Matkosky. I feel like this is just the beginning for us and I can’t wait to see what the future holds with Relative Music”

Relative Music Group is also home to Bailey Bryan, who has recently had success with her new single “Play W/ Me,” which earned viral TikTok traction and has accumulated over 2 million views. In addition to creative development, the company specializes in a wide range of services for its songwriters, including synch. The company has secured over 350 synch placements throughout film and television, including promotions for Apple, Coke, the hit series Game Of Thrones, and many more.

Carly Pearce Invited To Join The Grand Ole Opry

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Carly Pearce on stage at The Grand Ole Opry. Photo: Chris Hollo

Carly Pearce has been invited to be the latest Grand Ole Opry Member by the iconic Opry Member Dolly Parton. The invite happened off the Opry stage late last week, and the public announcement was held until Pearce’s Opry appearance last night (June 22) so she could experience the moment on the hallowed stage.

It was a full circle moment for the CMA and double ACM Award winner, who cut her teeth as a performer at Dollywood when she was a teenager. When the invitation was extended as seen in the video, Pearce though she was taping a promotion for the theme park. This is the first time Parton has asked someone to become a member of country’s longest running institution.

After the invitation video played for the packed Opry House, the crowd stood in applause as Carly expressed, “Truly this is the most precious place and the most precious family I could ever be a part of. I’ve experienced so many wonderful things in my career so far, but this takes the cake!”

“When one of ours has a special moment, it’s an honor to be part of that,” Parton said. “Carly is a real songwriter and bright heart – and I loved getting to ask her to do something so very special.”

Dolly Parton, Carly Pearce. Photo: Alexa Campbell

For Pearce, who has played the Grand Ole Opry 85 times, it was a moment she will never forget.

“[The Opry has] been the greatest love of my life since I was a young girl listening with my grandparents. All of the greatest writers, legends and pioneers have been on that stage, and I feel them in my bones anytime I walk in the stage door… To actually be asked to join the Opry family, there are no words,” Pearce said.

“Carly Pearce and the Opry have enjoyed a most special relationship since even before she made her Opry debut,” said Opry Executive Producer Dan Rogers. “We’ve loved every minute of watching her star grow over the past few years and are thankful she reveres the Opry after more than 80 appearances even more than she did on her first night with us. Every night she plays the Opry, I try to make my way back to her to thank her for taking the time to visit us. Every single time she replies, ‘It’s my favorite place to be.’ Here’s to the Opry being Carly’s favorite place to be for the rest of what will no doubt be a long, successful career.”

Pearce will be officially inducted on Tuesday, Aug. 3.

Acclaimed Nashville Songwriter Ross Copperman Finds Artist Voice Again [Interview]

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Ross Copperman. Photo: Gus Black

With 30 No. 1 country songs to his credit, Ross Copperman is a well-known name on Music Row. He’s been a part of massive country hits with Kenny Chesney, Dierks Bentley, Keith Urban, Darius Rucker and more. He’s earned numerous songwriter awards, including two CMA Triple Play Awards and an ACM Songwriter of the Year win. Additionally, Copperman’s production work has garnered him several Grammy nominations.

While his work in the country space has no doubt kept him busy, Copperman’s musical story started in 2006 as an artist signed to the UK-based Photogenic Records—where Natasha Bedingfield was signed at the time. While he had success with pop-rock songs “As I Choke” and “All She Wrote,” Copperman felt the pull to something different.

“I did a lot of touring and making records—I did my time in the UK and I got burned out on being an artist when I was younger. I didn’t know what I was doing,” Copperman tells MusicRow.

With a need for a new direction, Copperman returned home to the United States and headed to Music City. “I knew that I was a songwriter first and I knew that Nashville was the Mecca of songwriting. I also knew that the way I wrote songs was in a very Nashville-style way of writing songs. So I came here and was embraced by the community immediately. I found people that loved songwriting as much as I did. I fell in love with it like everyone else that comes here and falls in love with it.”

Now, with nearly 20 years of success as a hit songwriter under his belt, Copperman is returning to the artist spotlight.

“That desire was always there. It never went away, I just buried it for a long time,” Copperman says. “The pandemic happened and I was like, ‘If I’m going to do it, this would be the time to do it.’ It gave me the time to be able to focus on it, and I found a team that believed in me and my music. That was a huge part of it, finding people that actually believed in what I was doing.”

Copperman signed with Photo Finish Records, and in May released his first EP in years, Somewhere There’s a Light On. The five-track project features piano-driven pop songs, with lyrical concepts that nod to Copperman’s country repertoire.

“I started writing these songs years ago, I’ve really always been writing these songs. I had the session with Ed Sheeran and we wrote ‘Electricity’ and ‘Therapy’ in the same day. I fell in love with those two songs, I was secretly hoping nobody would cut them. A year and a half passed and I played them for every artist in town because I was so excited,” Copperman says. “It just didn’t fit in country music. I finally asked Ed for his blessing to put them out myself and he was so gracious and supportive. That was a huge turning point for me.”

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The title track for the project is an ethereal pop ballad with a fascinating bass drop, and finds Copperman singing the comforting message: “Take your time, feed your soul, if you ever find yourself alone, and you need a place that feels like home, somewhere there’s a light on.”

“The message behind that song is everything I stand for as an artist, reminding people that there’s good out there and no matter how hard your day is, somebody else is experiencing the same thing somewhere. Somewhere there’s a light on for you”

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“Alex Mendoza, who co-produced this record with me, really helped me find my sound. My having produced so many albums, I felt like I needed that outside voice to help guide me. I wanted to be the artist in this scenario, I didn’t want to be producing myself, ” Copperman says of the project’s unique sound. “Alex brought perspective and was able to see it from 30,000 feet, whereas when you are the artist and you’re making music, it’s hard to see it from a different perspective. He brought a young energy to it, which really suited the songs. And he just brought perspective for me to be like, ‘Let’s do a drop here after this chorus.’ That’s my dream, to do songs with drops–I know how to make a country drop, but I don’t know how to do a legit pop drop.”

While Copperman admits he is a songwriter first, he’s excited to return to his own artistry.

“My dream is to ultimately play theaters, to get to that point where I can do theaters. I’m going to continue to just put out songs, I have more lined up to come this year,” Copperman sums. “I just want to continue to grow it and to give it all I have with a new sense of grounding.”

Copperman’s Somewhere There’s A Light On, his first collection of original music released in 10 years, is out now.